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Rethinking THE MODES of the Major Scale
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- Опубликовано: 14 авг 2024
- Reordering the Modes on a musical bright to dark spectrum. In this video, we take the Modes of the Major scale and reorder them from brightest to darkest.
This is a musical way to rethink the #modes and it will hopefully give you some new ideas to apply to your #jazz improvising and compositions. We also discuss this concept of brightness when applied to #harmony so that you can use this idea in other areas of music.
▬ Contents of video ▬▬▬▬▬▬▬▬▬▬
00:00 - Intro
00:18 - Brightness in Harmony
00:30 - Modes of the Major Scale
01:08 - Bright to Dark Spectrum
02:30 - Tritone, Brighter or Darker?
03:08 - Reordering The Modes
05:05 - Applying to Other Things in Music
05:31 - Reasons I Like This Concept
06:23 - Outro
▬ About Channel ▬▬▬▬▬▬▬▬▬▬▬
Hi I'm Robbie, welcome to my channel! My videos are for anyone looking to add to their musical knowledge and to develop their ability to improvise. I've gathered some pretty cool concepts throughout my journey of becoming a professional musician and I'm excited to share my musical findings with you ...this is also an excuse for me to dig out my pile of notes and develop these concepts further! Thanks for stopping by.
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This guy is a genius. It amazes me how he not only creates this great content, but how he just lectures at 100 MPH really shows how deeply he is inside of all of this. It's weird in a way because his playing sounds like one of the lectures - sort of a manifestation of the lecture - super deep, intensely musical -
dude KEEP IT UP. this is what the youtube needs.
Thanks so much! Will do!
Agree
@4:06 Another cool observation that probably serves no practical purpose regarding this ordering of the modes:
Dorian has a palindromic step pattern and is right in the middle of this. Compare the step patterns of the two modes either side of it - Mixolydian and Aeolian - and you'll find that one is the inverse of the other. The same goes for the other two pairs moving outward - Ionian and Phrygian, and Lydian and Locrian.
Do with that what you will.
Mirror pairs check out Rick beato lessons on mirror pair harmony
Impeccable content, as always. Have learned so much on this channel!!
Thanks Charlie!
What a perfect teacher and player you are! Please continue to show how to teach us! Thank you veery much!
Robbie - refreshing to hear you present this concept. I have looked at it this way for years. So much so that I often argue that Lydian is the 1st mode and then it goes from there. I am very supportive of George Russell's Tonal Organization and Tonal Gravity. Good job!!!
for me, i thought of something when i was in bed this morning, just popped into my head.. but it was that the dorian mode represents PATIENCE, i don't know why i feel that it does, because like I say, it just popped into my head, but it could be because it is sort of halfway between being a minor scale and a major scale, or a minor scale with a raised 6th, so kinda halfway between dark and light (light at the end of the tunnel) sort of thing, but also minor chords generally to me, give an impression, or a sound (emotionally speaking) of the struggle of life and setbacks and difficulties, but yeah thank's i liked the video!! overall I suppose it is very reasonable to say that the Lydian mode does have more of an emotional impact, or a BRIGHTER sound to it, like you said, and yes this makes perfect sense for the reason you stated, it has the raised 4th degree, so it is higher of a scale, reaching up more if you will
Hello. A bit puzzled by your explanations. In equal temperament context all major scales are strictly identical. It is very difficult to understand that the musical sensation could be different.
Concerning the modes, my understanding is that the brightness depends on the distance, in the fifth cycle, between each note and the first one. Cionian is built with the first notes in the fifth cycle from C : CGDAEB. Clocrian with the farest notes from C : GbDbAbEbBbF. Cionian is therfore more consonant/brighter, Clocrian more dissonant/darker.
For me the brightness of lydian mode is due to the 3 consecutive major second which creates a kind of "overmajor" sound
This is just my personal understanding. Your vid on Barry Harris concept was super
I agree. I was taken aback at the claim that any major scale could be brighter or darker than any other. But I am willing to listen to someone's explanation. Maybe this affects people with perfect pitch, who can perceive the amount of sharps, but to me, same intervals creates same sounds, albeit with tonic higher or lower on the frequency spectrum by just a tidbit.
Haha I do these from bright to dark, as well as scat them by memory. You really feel the shift in each interval that changes in the gradient each time
Robbie your mind of theory is an amazing ride. Great video...I had to watch it three times to finally grasp it but well worth it 👍👍👍🎸
Excellent and very Clear! Thank you!
I find myself keep coming back to this video. Each time I watch I discover something.
Such as fan boy of your work brother, would love to see the note that makes the difference for a mode in its sound quality that defines it in the future. Much Love!
mate your a bloody genius
Thanks! Eye and Mind Opening Stuff!
I’ve heard Gary Burton talk about this before. Very cool way of thinking about the modes.
Incredible! Love Gary Burton!
Your videos are excellent all around.
Production is great; edited nicely with lovely added bonuses with helpful visual aids, pleasant depth of field, colour science, and lighting.
Content is excellent; the concepts are interesting, clear and informative explanations, concise, and well articulated.
Even though I was familiar with this approach to modes, I still felt compelled to watch all the way through. You also fill an important gap in digital content for music theory education for post-intermediate musicians. Subscribing was an easy decision and I look forward to seeing more content from you.
Thanks for the lovely comment and for the support to the channel! So glad you're enjoying the vids.
Holy cow, what a find your channel is! Your playing is also incredible! Instant subscribe.
Thanks a lot for the kind words! Really appreciate the support.
i never thought we could find the modes with the circle of fifths !! a BIG THANK YOU just for this !! Subscribed !
Interesting perspective Lighter and Darker Modes. And something to consider when I'm playing (I play pianio/keyboard.
Robbie I really enjoyed your video on the Barry Harris Method.Your video is helpful.
Thank you😀👋🎹🎶
Top content! My sincere thanks to you for explaining this to us, really helpful! Just when i needed it..
My pleasure! Thanks for the lovely comment, great to hear you enjoyed it.
Fantastic video, as all the videos on your channel! Thanks for sharing this!
Thanks for watching!
Amazing Chanel Man!🤟🏻
wonderful channel. Excellent tips.
I saw this concept before, ordering modes from bright to dark, in the piano channel New jazz
Didn’t hear about this concept until about halfway though music school. And hear it is on RUclips. Very cool- and concisely explained!
Thanks a lot!
Love your videos. This one is short and sweet and explained in your elegantly brief style, but please don't abandon the more ambitious and longer crash course style videos like you did on 6th diminished. The Barry Harris vid is possibly the most informative and rewarding guitar video on all of youtube, in my opinion.
Brother 🔥🔥🔥🔥🙏
Fascinating and brilliantly insightful. I can relate to this having just recently been made aware that there is asymmetry in tonal color moving down 1/2 step vs. up 1/2 step. The usage of the circle of fifths to explain the modes is also very interesting and well done.
Oh my god. I’ve been playing for years, grade 8, dip, technically good etc - but you just gave me a eureka moment on the circle of 5th’s.
Looking forward to the video applying this to the dominant seventh sounds.
I remember disovering this on paper when I was teaching myself theory. Dorian and Lydian are really popular in modern psychedelic. Tame Impala for example. On Lonerism he basically always replaces the Minor/Major dichotomy with Dorian/Lydian. Another interesting thing if you go further with the "relative modes" idea via thirds is discovering Locrian is the only mode that is the relative minor of a minor mode (Dorian) which is itself the relative minor of Lydian. Another reason to view Dorian as true neutral. It's also symmetric. Honestly I'm surprised why popular music hasn't taken more of a liking to modes. They seem difficult but they actually produce simpler music than any musician would find just dicking around on their instrument. The complex beautiful sounding stuff is almost always found by ear, not by theory, I think. But its useful to have an excess understanding.
Allan Holdsworth had an extremely idiosyncratic (but utterly genius) approach to music theory and according to him, Dorian - owing to mainly its peculiar symmetry - is the "true" neutral scale. Ionian gets all the attention, but Dorian really keeps it all tied together. Seeing brilliant musicians like Holdsworth, Carlos Santana, and our Robbie here giving strong emphasis to the Dorian mode really has shifted my own playing and mindset.
I agree. why dick around and waste time? Writing is so much easier understanding theory. Hell, I'm just two years into knowing anything about music, but thanks to content like this I feel like I'm learning in a way that will bring out the best in me.
Tame Impala? Kinda funny, I like him and all but I think you can find thousands of previous examples in rock and indie rock. He is one that has gotten some footing and the ‘machine’ has turned up for him BUT man look around there is so much amazing music in the indie/progressive scene that just requires a bit of digging past the algorithms. Again I do like his approach though!
Again I was saying that the Dorian and Lydian. In fact all the modes except locrian have been used extensively in popular music. For a long long time: )
@@ampeg i think you were saying you aren't a fan of tame Impala because you think they sold out. Cool story
And your Barry Harris vid is the best music instruction video I’ve very seen.
Can you do a deep dive into the Lydian Chromatic Concept!?
Definitely! It's on the list!
You've got a way of organizing notions that I've had over the years really neatly, Robbie. I always thought Lydian would be better to start from since you could then just successively apply flats, and the symmetry in the way you think of the modes would be stronger. But you're taking it to a new level here, and I can only say thank you again for your insights!
That's wonderful! Thanks so much for your kind words. Glad you liked it!
If you look into George Russell's "Lydian Chromatic Concept of Tonal Organization", he basically postulates just that, that all music is based off Lydian. This caused the old "always play Lydian over a maj7 chord" that was very far-reaching and influenced Coltrane's soloing on Giant Steps.
@@SelfPropelledDestiny thnx. was gonna ask if this was kinda the russell lydian thing…
You are a great teacher so good.keep on never give up my bro
Thanks, that’s so very kind of you to say!
Very Beato-esque content. Would love to see you two do a collaboration video.
Man dude I never knew wat you explained before but I can understand it all for some strange reason, maybe I learnt just enough in Music class!
I love this content and the way you share it. I’ve found this info on the book “twentieth century harmony” which Vincent Persichetti wrote 60 years ago. In that chapter he also showed that you could mirror these modes, from darkest to brightest (for example if you mirror lydian it turns into locrian) being dorian the center, which symmetrical invertible. Fifths turn into fourths showing us the “undertone series”, the mirrored version of the overtone series. There is also a chapter where he shows a multi-octave scale with the lydian tetrachord, a scale that Jacob Collier names megahyperlydian (wtw) and claims as invention of his owns, but 60 years ago. That illustrates us that the magic of music can lead us to the same thoughts, that is also why music was consider as one of the greatest sciences by the ancient greeks, sharing that podium with maths and geometry. Greetings from Argentina.
PS: loved the barry harris’ vid.
Thanks for sharing! Awesome stuff.
Yeah this channel is gonna blow up. Awesome content🤙
I’m just so glad to find this channel... great work keep it up!!!❤️
Great video ! The way the lydian mode ends up being sort of a "reference point for brightness" make me think of George Russell's lydian chromatic concept.
I would love to see you talking about that !
(I find the subject overlooked 🧐)
Definitely, that's a great idea! The Lydian Chromatic Concept is a deep but beautiful one.. I'll dig the book out again! Dorian is also a great reference point for brightness because we can see it as the quotient on this bright to dark spectrum. From Dorian being the home point of reference, the other modes are either 1-3 levels brighter or 1-3 levels darker. It's also the only mode in the major scale which can be viewed as a symmetric or mirrored scale. Fascinating stuff!
Your videos and lessons are absolutely FANTASTIC! Thanks so much, Robbie. Always learn a lot from you.
Thanks a lot! Great to hear you're enjoying the channel.
That's a great video man! Thank you so much for the explanation! Helps me a lot for understanding modes
That’s great to hear! Thanks for checking it out Eddy!
Wow!
I like these vids. Good to see, that a young man has so much knowledge. And the slight smile always on :-). More guitar playing would make it even better.
Thanks so much for checking them out, glad you’re enjoying them! Next vid is going to be guitar heavy, promise!
Your content is elegant and tasteful!!!
Yes, I think this concept has definitely changed the "intentionality" of my playing; rather than trying to think about what not to play, the functionality of scale tones becomes much more apparent, making the modes much more useful in a variety of ways, especially improv.
Very cool👍👍👍
Amazing video!! This channel is just awsome
Thanks!
Brilliant teacher! Loved your contribution to this very rich topic. Thank you.
Thanks!
The best! Greetz from Sweden!!
Very instructive! This is somewhat related to George Russell’s Lydian Chromatic Concept, a weathered copy of which I keep and leaf through every few years. Love your videos - keep up the great work.
Such an elegant way of explaining these concepts. Subbed.
Interesting, I'd love to see some application of this.
Thank you great video. Have you thought about making a video about improvisation and how to use scales with chords?
Thanks for checking it out! Definitely, my channel is all about improvisation and I will for sure be going deep into chord scale relationships.
With only a few videos online, your channel is already full to the brim with precious musical knowledge. This is a treasure trove! Very fast, very dense but dude, I love every second! Thank you for sharing your amazing musical talent along with your great gift of teaching and breaking all this precious information down. I'm in awe :)
Thanks so much for the lovely comment Max. Your kind words really mean a lot and I'm so glad you're enjoying the channel! Lots more vids and concepts to come!
this is mint great content here
Incredible, not that I understood much of it, but great to watch and listen.
This channel is going to blow up. Phenomenal content.
Thanks a lot!
Very impec content... keep it up dude
Thanks a lot, Will do!
Really good analysis! For me the most important evolution for the major scale modes (and the melodic minor also) was looking at each of the modes in there own state. Stopping the relating BACK to the parental major scale to get your interval relations. Thanks for what your doing, I think your the most thorough without the confusion, not an easy task!
good job.. ...man !
Thanks!
That intro is fire💥
Best lighting since CSI, and great video!!
*Lydian Chromatic Concept Intensifies*
I find the bright-to-dark cycle thing really jumps out when playing chord inversions around the cycle. Particularly the point when you get to locrian in a given key. On your next move, the new flat is the root. So, say you're at B-7b5 in C, flat the root and you've got Bbmaj7, i.e. IV in F. And the Bb note is the new flat going from C to F. And that's the transition from the dark end of C to the bright end of F. And so on around the cycle. I've probably explained it badly but it's a cool thing.
Robbie is a one man institution and one of the greatest players alive: If I am in the position to sponsor, I know where my money will go to.
However; This is the only video from Robbie that I do not agree with. Sharps and flats do not represent dark and bright tonalities at all and such a classification is futile unless you suspend all the chords with added sharps and flats by his classification over e.g. a C bass note and then compare them as the added sharps and flats, which are then suspensions and extensions. Reason is, that it is extensions and the major/minor tonality that create bright/dark properties everyone by large can agree on, and not merely the amount of sharps and flats.
Awesome. I feel like I went to music school for free! Thanks much!
My pleasure! Thanks for checking it out.
Love it! So fun to play through the modes stepwise from light to dark then dark to light. Did you ever create a video for the modes of altered dominant from light to dark?
Thanks for checking out the vid. This stepwise flattening/light to dark process doesn't work for the modes of the Melodic Minor (parent scale of Altered Dominant) in the same way. However, there are other great concepts unique to the Melodic Minor and its modes which I look forward to share!
Mick's stuff is timeless!
I’m not sure saying Gmajor scale is brighter than Cmajor has much meaning to me since the major scale is always Ionian and the intervals are the same whereas comparing different modes does have a sense of brightness to darkness comparing intervals. What I find interesting is how Ionian evolved as being the dominant mode in western music when lydian seems like it is the brightest or ‘first’ mode. Also the only intervalic-ally symmetric mode (tone,semitone,tone,tone,tone,semitone,tone) is dorian so maybe that should be the ‘middle’ mode which fits if you order the modes brightness to darkness (or darkness to brightness 😀). So why do we base our music on the Ionian mode, why not an octotonic scale or wholetone scale for symmetry? Or since dorian is the middle mode maybe that should be the reference point from which point modes get either brighter or darker? How did we end up with Ionian? 😀
Thanks for the comment! Great stuff in there, I agree! It's really interesting to see Dorian as the quotient on this bright to dark spectrum. We can then see the other modes as either 1-3 levels brighter or 1-3 levels darker from Dorian being the home point of reference. It certainly is fascinating to start seeing Dorian as a mirrored/symmetric scale! However, for G Major in relation to C Major, it is brighter if thinking in the modal context and when using C Major as the reference point eg. G Major = C Lydian, C Lydian = one degree 'brighter' then C Ionian. What this means in terms of sounds we relate to/what we choose to do creatively with all of this, is up to us! Thanks for the great comment and for checking out the vid.
I guess the Ionian mode is the root note by which all the other scale degrees are built eg 2nd 3rd 4th etc, so maybe Ionian is the root, or just a vehicle for all the other modes to be built on or around, i'm not sure really, wish i had a better answer, sorry I know you didn't ask me the question lol, (I probably don't know anyway) but it's a very good question, why is Ionian the most common mode in western music? my only reasonable answer i can give is that it is probably the least dramatic sounding of all the modes, and therefore has given pop or commercial music it's normal generic sound, but then again maybe the normality of Ionian is required for the other modes to sound the way they do, "exotic" like or dramatic, does that make sense? I'm probably not explaining very well, but these are just my current observations
You can get another insight into modes - the light and the dark qualities - as they apply within a tuning system other than equal temperament. This comes from the changing relationship of harmonies within an interval structure which is subject to change from one key to another rather than fixed over all 12 keys. This is why 'well tempered' tunings are more complex and satisfying (while also being more problematic) than equal temperament.
So, then basically, to extend this, we should start by asking these questions each time we make a transition.
In which key is C 4th or Lydian?
In which key is C 1st or Ionian?
In which key is C 5th or Mixolydian?
In which key is C 2nd or Dorian?
In which key is C 6th or Aeolian?
In which key is C 3rd or Phrygian?
In which key is C 7th or Locrian?
Since C is the first note of each mode shape in each case.
Then as we return to the beginning of the new cycle with B Lydian, just start the pattern of questions over for that new note; thus creating a massive lesson that forces us to learn all 12 * 7 = 84 such relations as we move chromatically with each new cycle to the previous half-step starting on lydian.
I'm not sure G gets 'brighter' than C by having a note sharpened. Surely, all the major keys are of the same brightness as brighter seems to imply an emotional state. The f# is merely nomenclature that ensures the intervals remain the same.
You're right, a Major scale isn't bright or dark. Nothing is bright or dark until it is compared to something else. So when we compare G Major to C Major with the basic definition of brightness being: 'raising a note = brighter and flattening a note = darker', then G Major (which is C Lydian) is one degree brighter then C Major because one note is raised. It is up to you and your ears to decide if C Lydian sounds 'brighter' then C Major. The term 'brighter' is just a word and it is personal preference what musical emotion that word means or sounds like. What you choose to musically do with this concept is also up to you, this is just another musical way to make a connection to the sounds of these modes. The emotion of these compared sounds is a subjective thing but that is the beauty in music.
Hey, really intetesting. J.C talks about this light/dark thing too.
Is this related to the lydian chromatic concept?
Thanks for the comment! Not necessarily related but I suppose both use the idea of using the circle of 5ths as a tool to construct scales and see levels of brightness in harmony. The Lydian Chromatic Concept goes deep though and it's a beautiful one (I'll dig the book out again and reread it me thinks!).
Your videos are awsome man!! Keep it up!
Also, just wondering, did you go to any school for music? And how much time do you spend studying and practicing?
POSITIONS!!!!!!!!
Thank you! Relating this to visual art at this level can be helpful, especially color theory, color mixing, shading, etc.
Robbie got a request: can you please make a tutorial on chords sequences such as circle of fifths with Triton substitutions, secondary dominants etc... Many many thanks!
Definitely! I'll have a think about what I can put together for those concepts!
@@RobbieBarnby legend!! 👍🎸🎸
one thing that may raise questions is saying that one key is brigher than another when in our temperement all keys sound the same, one key is only brigher that another if you compare 2 keys and maintain the the same root, ex between Bb and C , C is "brigher" because in Bb we have C doric which is less brigher than C ionian, correct me if I'm wrong ...
Hey can u make a video on the lydian chromatic concept
I have no idea what it’s about
Definitely!
"For this video we're going to assume you know what these modes are....." Aaaannndd I'm fucked. lol.
where i can find the video about the dominant chord order :-)?
Cool new channel!
Lol. Amazing info. I think. Added this to my watch later.
Ill see ya in 6 years or some shit
Can you do a Video on Improving Guitar Speed?
Very nice cute video
Thanks for checking it out!
so i thought that in the well tempered keys the flats and sharps have no impact on brightness cause all intervals arr equal
The ordering aspect is good and important to know about, not sure I like the terms brighter/darker though... what's the point?
So, (and this is just about the terminology), it just sounds like using different names for something that already exists/is well known (there's already way too much of that in music). We aren't really learning anything new from the terminology (don't we already talk about flats/sharps?), we could easily imagine the terminology being swapped, and what's worse is that a linear brightness/darkness concept is not really a good map for what is supposed to be a cyclic concept. But whatever, no big deal
For me it's just another view point for these modes which I find to be a very musical one. Whatever ones relationship is to the sound of these modes, I find it brings me closer to making a connection to the sounds and how I might use them as opposed to just knowing the names. As you say, whether you like the term 'brightness' or what that means to your ears (that's of course subjective), reordering them in this way definitely has many creative uses. I also like to view all the dominant tensions in this sort of way too as it again, gives me a closer relationship to the sound of different levels of tensions for a V7 chord.. that's super musical! (as mentioned in the video this is a whole other topic which I definitely want to do a vid on). Anyway, thanks for your input! This concept isn't meant to replace or swap anything, it's just another view point to the wonderful sounds that is music.
@@RobbieBarnby thanks for replying! I am very happy about the idea of mentally ordering these according to a logical framework (especially one that has physical grounding) since it brings transparency into what's really going on. Also happy with giving them more relatable names, be it as mnemonics or to bring them closer to our understanding, make them more familiar or inspiring or what have you.
For that same reason, my (personal) issue with the chosen terminology just has to do with the implied structures/ordering. A linear structure has a certain structure, e.g. it has two directions, forwards or backwards, and I associate light/dark with such a structure, yet the modes come with a bit more structure on top of that (the ~cyclical, helical? aspect of it)... it is an aspect I want to get more familiar with, not something I want ignore. It would've been the same issue if we had chosen "sweet" vs "sour" as names. But as I say, it is not a big deal.
Just discovered this channel and I am sold where's the subscribe botton
For me everything makes sense in the hierarchy of brightness & darkness up until it gets to Phrygian & Locrian, I overall do agree with the logic of it all and can definitely hear what those two modes are doing relative to both Aeolian & Dorian but often times I end up thinking Aeolian is just the king minor mode/sound, as is Ionion for major. It could be that Phrygian ends up too much sounding like a Lydian inversion, therefore not really standing out too much as a "minor sounding" mode, or for that reason it highly depends on the exact voicing being used to express Phrygian in a chord or phrase, as I do think there are better ones than others. Kinda feel the same way for Locrian, it's undeniably unresolved, but still often end up feeling like Aeolian just has a stronger tension to it.
Another abstract way of expressing this is, I know how to feel when I hear Aeolian but for Phrygian & Locrian it sounds like those modes are "trying too hard" to do the "minor thing". In the end I really do think it comes down to voicings and where they're placed relative to a key. Also context matters, sometimes on the iii chord, raising the 9th just feels better and moves nicely up to the IV, other times you just want the flatness of the b9 on that iii even though it's already diatonic to the key. Ahhh music.
Nice! I Love hearing what the relationship of these sounds mean to each person. I actually really like using Phrygian (and even Locrian to some extent) as different tension options for a Dominant V chord. So even though Phrygian doesn't have a Major 3rd, using it for a Dominant still has a level of tension to it which wants to resolve (in my opinion). Fun stuff!
Yeah I guess Phrygian as the V wants that b9 to fall down a half step, the b3rd to either raise or fall, same with the 4 and b6, almost everything is outside so they slot right into place that way for sure.
@@RobbieBarnby Nice idea! I guess its five degrees in common with the Altered Scale, just swapping major 3rd for 4th, and the #4 for 5th. So maybe a little more consonant version of Altered?
Just for fun: I was playing with Phrygian Dominant (1 b2 3 4 5 b6 b7), but then instead took Phrygian and flattened the 4 to a 3 you end up with the 6th mode of Harmonic Minor Inverse (1 b2 b3 3 5 b6 b7), an Indian Carnatic Scale. Sounds cool...
@@SelfPropelledDestiny that's the 3rd mode of harmonic major.
Phrygian b4. Yes it goes great with phrygian dom, h/w dim and altered. What I like about phrygian b4 is it can also be used as a minor scale.
So I want to question a concept here. While it is true that sharpening a note in a given scale brightens it, and flattening a note darkens, it seems that this concept might be being misconstrued? To explain further, taking a single scale like the major scale and changing those degrees changes the brightness or darkness, yes. But I've never heard anyone claim that "G Major is brighter than C Major", since they are the exact same scales with the same intervals (the actual names of the pitches matters not). The sharpening here (F to F#) would only increase brightens in terms of changing what would be a G Mixolydian scale to a G Ionian scale. But all major keys (Ionians) contain the same brightness, same with all the major modes in any pitch. If someone could explain where my thinking might be wrong here, it would be appreciated.
Thanks for the comment! You're right that all Major scales/Ionian modes have the same intervalic structure. And an individual Major scale isn't bright or dark on its own, however, it is when you compare it to a different scale. In the video, I compare everything to C Major and make that our home reference point for the spectrum. So you're correct that a Major scale on its own isn't bright or dark. Nothing is bright or dark until it is compared to something else. So when we compare G Major to C Major with the basic definition of brightness being: 'raising a note = brighter and flattening a note = darker', then G Major (which is C Lydian) is one degree brighter then C Major because one note is raised. It is up to you and your ears to decide if C Lydian sounds 'brighter' then C Major. The term 'brighter' is just a word and it is personal preference what musical emotion that word means or sounds like. What you then choose to musically do with this concept is also up to you. For me, this is just another musical way to make a connection to the sounds of these modes. I've found this concept to be very useful in many different aspects of music as well as for fretboard knowledge on the guitar. The emotion of these compared sounds is of course a subjective thing but that is the beauty in music. Thanks again for checking out the channel!
@@RobbieBarnby Thanks for the reply and I do love the channel. Your open strings video and harmonizing the blues scale video were concepts I’ve never seen before and I’ve been soaking up theory for years. Great work!
Robbie.....? "Leave Brittany alone"!!! :)
You have a nice channel by the way
Thanks!
1:32 I fail to see how G Major is "brighter" than C major, or how it has a "raised scale degree". Did you mean to say C Lydian vs C Major?
0:10 what is the concept behind this beautiful lines? I want to be able to do play stuff like this too :(
scrambled arpeggios, dont worry you will get there eventually
@@dimmmmmmp thanks, i will chek them out
Very interesting concept ty for sharing this awareness. A question for you what are the best cord progressions to use with modes .
Thanks for the comment! You could put together any chord progression using the chords which come from the harmonized chosen mode which you want to work on, eg. to practise D Dorian, any of the chords built from that scale (which happens to be the same as the chords from the harmonized C Major scale) would work well. Just remember to treat the Dm7 as the one chord.
To begin with, I recommend picking just one chord or root note to act as a drone and then apply different modes to it. This is going to get your ears used to hearing the different sound qualities of the chosen scales (eg. Dm drone, play around by comparing the sounds of D Dorian to D Aeolian). Makeup progressions such us GMaj13#11 (G Lydian) to Gm13 (G Dorian) and experiment with bringing out the sounds of those scales/chords. Endless fun!
Ty you so much for you quick response I appreciate and will work on it . Music is amazing and should be enjoyed and shared
I don't really get the first part. One major scale to me isn't really brighter or darker than the other just because it has more sharps or flats when they're the same intervals, relative to the root note. The mode thing I understand, but a major scale is a major scale... right lol? I mean those examples sounded brighter and darker because of the pitch of the root note. Play an F major in a position above the last C major you heard and it's going to this time, sound brighter...
so, an augmented chord is brighter than a major chord?